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Subject: this is cool
Subject: Not bad...
...while most of the time I was going "Hey! Something got cut out!", the biggest difference was NOT having the nearly-omnipresent narration. Most of the music I had to actively try to pay attention to, which may or may not have been the purpose of this.
Nonetheless, a very nice proof-of-concept.
Subject: I used the footage too
I used the same old footage for a twitter satire I did:
It's double cool because I live in Portland... it's neat seeing the old scenes.
Subject: Interesting exercise
Five stars because it's a great chance to hear the work of film composers-in-training. Normally this kind of developmental work is buried, never to be heard outside the academic setting in which it was created.
A few trivial technical issues:
The film's soundtrack is characteristic of old film prints - it has a rolled off, almost absent high end, and there's some garbling of the sort heard in films worn by repeated projection by abused equipment. The music is crystal clear with lots of high-end,so it doesn't sit in the mix very well.
The music itself punches up the sequence nicely and it makes the dry presentation much more compelling. It's too LOUD, but why not? This is a scoring exercise meant to show off the music.
The strings are pretty weak. I don't know if it's a lame keyboard preset or a bad sample set, but it sounds like a 1992 AEON FLUX soundtrack patch. The acoustic instruments used in the new score of DAY CALLLED X have much more presence.
It would be great to have more stuff like this in the archive.